Mark Parragh's Blog

Saint Justice – Christopher Wren #1

by Mike Grist

Published by Mike Grist

Read it now at Amazon

It Takes a Cult Leader to Kill a Cult

 He calls himself Christopher Wren, but that’s not his real name. It’s not entirely clear that he has a real name. He grew up in an apocalyptic cult before becoming its sole survivor. As an agent for the Department of Homeland Security, he helped dismantle other dangerous cults. But what cost him that job was the one thing he didn’t tell his bosses. Cults are what he knows, so while he was taking them apart for the DHS, he was building his own on the side.

Wren’s “Foundation” is a group of people from all walks of life with one thing in common. Wren found them at a vulnerable moment, got into their heads, and spun them off whatever dark path they were on. Now they’re his backup. He has people scattered all over the country with skills ranging from the academic to the criminal, ready to come to his aid at a moment’s notice. He’s going to need them.

When he stumbles across a human trafficking organization powerful enough to wipe out a whole small-town police department, Wren tries to warn DHS. But his former bosses think he’s responsible, and Wren’s soon on the run from the full weight of federal law enforcement.

On one side is a huge government manhunt. On the other is a charismatic, psychotic cult leader rounding up the homeless by the hundreds and brainwashing them into an army for an apocalyptic race war. In the middle stands Christopher Wren with his scattered followers, trying to prevent Armageddon. Either side is too powerful to meet with force. But Wren’s particular style of psychological judo just might be what it takes to set the two against each other…if he can stay alive long enough.

An Action Thriller That Knows Action Isn’t Always the Answer

Christopher Wren is, to say the least, an unusual addition to the gallery of action-adventure heroes, and Saint Justice is an unusual book. It might not be for everybody, but its different spin on the genre takes it in some intriguing directions, and author Mike Grist mines that territory for all it’s worth.

That’s not to say that Saint Justice doesn’t deliver on the action. It does. The book is packed with fights, gun battles, chases, and narrow escapes, with Wren always on the brink of catastrophe. But Wren’s greatest asset is his ability to read people, to see what they’re hiding, seek out the cracks in their psychological armor, and disarm them with a well-aimed sentence. One of Saint Justice’s most gripping sequences plays out with Wren tied naked to a table. His battle with the book’s villain is a duel of words and will that’s as tense as any action scene.

Grist is a skilled writer, and he’s put in the effort to make Wren a complex, deeply flawed character who can still strive for heroism and redemption. Wren is so damaged that he picks fights in biker bars just to get beat up. But then he can turn around and steer one of the bikers into a better alternative to the gang life he’s been trapped in. The paradox of his Foundation is that Wren really is guiding his followers toward recovery from the traumas and bad choices that put them in his sights to begin with. Even the ones who despise him realize on some level that they need what he’s offering.

Saint Justice can be a dark and intense read at times, maybe too much so for some readers. But it’s an intriguing book that offers up the expected chases and gunfights, then goes past them to really dig deep into its hero. The result is a gripping story that will stay with you well after the last page is turned. The Christopher Wren series is going to be one to watch.

There are three books in the Wren series to date, with the fourth on pre-order and set to come out within about a week (of this writing). I stumbled across the first book purely by accident, but based on this, I’ll definitely be checking out the others.

 — MP

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A lot of research goes into writing a book. Sometimes that research takes you to very odd places. I thought you might be interested in seeing where some of the things that turn up in a John Crane adventure come from. A great example of this comes from the second Crane novel, Wrecker. Set largely in Mexico, it brings Crane into contact with the country’s deadly narco cartels, and something else that’s using them for cover.

I’d known for some time that I wanted to set a Crane adventure in Baja California with its sundrenched deserts, crystal blue water, and reputation as a lawless frontier. It was in the process of researching the area that I stumbled across something that so amazed me I knew it had to go into the book.

Mexico’s narco cartels have become incredibly sophisticated operations. They’ve completely overwhelmed or simply infiltrated and taken over local police, and use military weapons and tactics to stand up to the country’s armed forces. But I was amazed to learn that they’ve actually started building their own private, illegal wireless communications networks, some providing cellular coverage over thousands of square miles of Mexican territory. These aren’t hackers taking over commercial cellular networks to keep authorities from intercepting their communications. These are whole physical networks of antennas and transmitters completely separate from the country’s telecommunications grid.

Of course it takes engineers and various other IT experts to build and maintain something like that. But the cartels don’t worry about things like that. If they need an expert in cellular network design, they can just go out and take one.

Here are a couple articles I used while researching Wrecker.

That’s some pretty amazing, and unsettling, truth. To see how it made it into fiction, check out Wrecker at Amazon.

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Roger Moore looking like butter wouldn’t melt in his mouth from the opening of ITV’s The Saint.

It’s been three years since Roger Moore passed away, and it’s still hard to imagine a world without him. Moore was the James Bond of my childhood and some part of me still thought that anyone who could beat Francisco Scaramanga and Jaws, run across the backs of crocodiles, turn his car into a submarine, and fly a space shuttle was pretty much immortal. Having said that, I guess I should admit that Moore was not my favorite James Bond. I like my Bond more gritty, on the Timothy Dalton and Daniel Craig end of the spectrum. But still, Bond is Bond, and I can watch the Moore Bond films any time and enjoy his take on the character.

I may like my Bond a little meaner, but I have no such issues with the Saint.  I’m perfectly fine with my Simon Templar being suave, witty, and charming, so I was happily surprised to find the original Saint TV series on Amazon Prime recently. Moore played the dashing, heroic, if not always entirely law-abiding Simon Templar from 1962 to 1969, and established a persona that would largely carry over into his portrayal of Bond.

Sanders as the 1930s Saint, charming one snazzy looking tomato with a swell hat.

I knew about this show, but I’d never seen any of it.  Oddly enough, I was more familiar with the series of Saint films from the late 1930s and early 1940s with George Sanders in the role. These were made by RKO, and I saw them through an accident of history. When American Movie Classics (AMC)  first began, it was very different than the cable juggernaut it is today. They ran old movies, two of them a day, in rotation. When the second one was done, they ran the first one again, and so on until the next day when they’d have two more movies. But rights to most of the old studio libraries were held by big media conglomerates, like MGM which ended up belonging to Ted Turner, and would form the basis for Turner Classic Movies.

But RKO’s back catalog was available cheap, and so AMC started out running two RKO films a day, including the Saint movies. RKO cranked out eight Saint movies, six of them with Sanders, between 1938 and 1941, before realizing that if they just called the character The Falcon, they wouldn’t have to pay Leslie Charteris anymore. So Sanders became The Falcon and played pretty much the same character for three more films while RKO fought Charteris in court. When Sanders grew tired of the role, RKO simply replaced him with his brother, Tom Conway playing…The Falcon’s brother, and kept on going for nine more movies through 1946.

I digress, but when I started watching the Moore Saint episodes, I started to see it as a link in a chain that ran all the way from those old Sanders movies to The Spy Who Loved Me and For Your Eyes Only.

Moore’s Saint episodes are more than fifty years old now and come from a different world. But once you get into the vibe of a world where just taking a PanAm flight out of Idlewild is considered exciting and glamorous, the show is a whole lot of fun. If I was writing John Crane in the 1960s, he’d probably look a bit like this. The Saint is available to stream on Amazon. If you have Prime, the first three seasons are free. Check it out, and raise a glass to Roger Moore.

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I got an email from a reader a few days ago telling me how much he enjoyed the John Crane series. That’s always a nice feeling. But this reader said something that kind of surprised me. He mentioned that in some ways Crane reminded him of Michael Westen, the main character from the TV series Burn Notice. That wasn’t something I’d ever really considered before, but this email made me sit up and think.

You may or may not be familiar with Burn Notice. It ran for seven seasons and generated a prequel movie and no less than five tie-in novels. During its run on the USA network, it was frequently in the top Nielsen ratings for cable shows. It was obviously very popular, and yet somehow it seems to have simultaneously flown under the radar — to the extent that Saturday Night Live even did a sketch called What is Burn Notice? in which game show contestants struggle in vain to come up with any tidbit of information about the show, it’s characters, or its premise.

So forgive me if you know all about this show, but I don’t want to make assumptions…

Burn Notice is about a US government agent, Michael Westen (Jeffrey Donovan), who is “burned” in the first episode, which basically means he’s fired with extreme prejudice. He suddenly finds himself blacklisted and his whole life simply gone. As Michael says in the intro, “When you’re burned, you’ve got nothing. No cash, no credit, no job history. You’re stuck in whatever city they decide to dump you in.” In Michael’s case, that’s Miami, where he grew up and where he at least has some contacts. To get by, Michael takes on odd jobs using his espionage skills and talent for improvisation to help people in serious trouble, all while trying to figure out who burned him and why. The cast is rounded out by Michael’s ex-girlfriend Fiona (Gabrielle Anwar) a ticking time bomb who used to work for the IRA, his best friend Sam Axe (Bruce Campbell)  an ex-Navy SEAL who informs on him to the FBI, and his mother (Sharon Gless) who is, well, his mom, with all that that entails.

But what does Burn Notice have to do with John Crane?

I watched Burn Notice when it aired, and enjoyed it a great deal. But I certainly wasn’t deliberately thinking of the show when I was designing John Crane’s world. The intention was very much to update James Bond and take him outside the role of “government agent,” which has very different connotations than it did in Ian Fleming’s day. You can see the modern genre expectations of government in Burn Notice itself, where Michael Westen is a principled hero trying to unravel the shadowy conspiracy that’s entangled him. Michael might be on the side of the angels, but the intelligence bureaucracy that burned him certainly isn’t. When government agents appear on Burn Notice, they’re almost invariably there to cause Michael trouble. This trope is nearly inescapable in modern spy stories, and explains why James Bond always seems to be going rogue in recent films. I didn’t want Crane to have to be always looking over his shoulder, wondering when his own side would betray him. I wanted straight-up sincere heroism, and I wanted Crane to be able to trust the people he was working for.

So while I was working out the setting and characters, I was thinking basically James Bond, except he doesn’t work for the government. Who else has the resources to field their own secret agent, and would be out to un-ironically use him to do good? A tech billionaire with high-minded (if perhaps sometimes a bit naive) ideals and more money than he knows what to do with. Thus Josh Sulenski was born, and Crane had a patron to send him on missions.

That puts him on a very different footing from Michael Westen, who lives off the grid without so much as a bank account. But looking more closely, I can see some elements of Crane and his world that are not so unlike Burn Notice. The circumstances of Crane’s separation from the government are very different, but both are former spies working outside the lines without authority or backup. Both agents have to improvise a lot, making do with what they have at hand and adapting to a world where they’re not part of a large, nearly omnipotent organization.

Now that I think about it, the image of Crane on the book covers even looks a little like Jeffrey Donovan!

Another thing that comes to mind is the bantering tone between Crane and Josh. That’s certainly not coming from Fleming, where “M” was Bond’s superior and any affection between them had to be carefully hidden behind stiff British formality. But it feels more like the tone between Michael and Sam.

And then there’s Fiona and her on-again, off-again relationship with Michael. Fiona is a wild card who can usually be counted on when push comes to shove. But she’s also very much a loose cannon, apt to go off in her own direction at any moment and unleash chaos, probably involving explosions. Is there a hint of her in Crane’s tentative relationship with Swift, high ranking member of a hidden criminal organization that Crane frequently tangles with?

So I was in no way consciously modeling the Crane books after Burn Notice, but at least one reader is reminded of the show, and I can see why. Perhaps a bit of unconscious influence crept in there. At any rate, it’s interesting to consider how the bits of story DNA we consume in our books, TV shows, and movies might recombine and end up in some all-new form.

Burn Notice is available on DVD, and is streaming on Hulu and Amazon Prime. If you haven’t seen it, it’s a lot of fun, and if you enjoy the John Crane books, I bet you’ll like it. On the other hand, if you remember the show fondly, I think John Crane might be right up your alley. You can buy the books at Amazon.com, or read them for free with your Kindle Unlimited subscription.

The post Burn Notice: An Appreciation appeared first on Mark Parragh.

The Empty Las Vegas Strip. Photo credit: Tod Seelie/The Guardian

Everybody has their particular challenges to face during the Covid-19 crisis, some bigger, some smaller. As a writer, I’ve discovered a small one that I wasn’t expecting.

There’s a chapter in the next John Crane novel, The Vengeful, in which Crane is searching for someone up and down the crowded Las Vegas strip and in and out of the casinos and hotels. The Strip is written as a difficult environment to navigate, full of people and traffic. Crane has a car, but he ends up using an Uber to get around because it’s easier than finding a parking place everywhere he checks, then just having to go back out a few minutes later and drive and part at another place.

But of course that’s not what the Vegas Strip is like at all these days, is it?

So as writers telling stories set in the here and now, how much of that here and now should we acknowledge? Should our characters be hunkered down in quarantine? Risking their lives by going out? Losing supporting characters to the disease? Or do we just ignore Covid-19 and set our stories in a world untouched by it and blissfully unaware?

That’s the choice I’ve made. John Crane won’t be wearing a mask as he fights the bad guys. My books are meant to take readers on exciting adventures in exotic locales, to provide a bit of escape from the mundane. When the mundane gets bad like this, that’s even more important. The last thing readers need is to find themselves confronting the same dark realities in their fiction.

But at the same time, it feels kind of odd to edit and filter the real world that way. The 1918 “Spanish Flu” is high in the public consciousness now, but it wasn’t always. For decades after it happened, it was largely forgotten. It wasn’t suppressed – there were books about it – but few people bothered to read them. Parents didn’t reminisce about it to their children. It just wasn’t talked about and so it slipped from memory. Will we end up doing that with Covid-19, I wonder? Will the stories we leave behind simply make no mention of it because we find it unpleasant to talk about, and thus give the impression that nothing particularly noteworthy happened in 2020?

Or perhaps we’ll wait a while, and then, when we decide it’s been long enough, we’ll mention the pandemic as something that happened. Characters may speak of having lost friends and family. It will be acknowledged, but as something distant.

I don’t know how we’ll address this pandemic in the future. Right now, I’m going to keep my stories set in a world free of it. I think we need escape right now, and John Crane works best with villains he can fight and defeat more actively than by staying at home.

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Stone Groove – Dale Conley #1

by Erik Carter

310 Pages

Published by Erik Carter

Read it now at Amazon

It’s the 1970s, and Dale Conley is an agent for the Justice Department’s Bureau of Esoteric Investigations. The BEI gets the odd cases. They get the odd agents too. Dale’s a rebel in jeans and leather jacket, driving around in a Detomaso Pantera and disregarding orders at the drop of a hat.

BEI agents are given new identities to totally cut them off from their old lives, and though his bosses shot it down, Dale wanted his new name to be Max Iron. That tells you pretty much what you need to know about Dale.

But for all his swagger and the delight he takes in tweaking his strait-laced superiors, Dale is serious about protecting the innocent. And in Stone Groove, he has plenty of innocents to protect. The entire population of a utopian commune in rural Virginia has gone missing. Overnight, 147 people have simply vanished. Clues left behind suggest a link to the disappearance of the Roanoke Island colony. It’s definitely a case for the BEI.

The 147 missing people are disturbing enough, but the real trouble begins when they start to trickle back. The returnees are thoroughly brainwashed, puppets programmed to kill or die based on whatever complex instructions they’ve been given. As Dale races to save as many as he can, it becomes clear that whoever is pulling their strings knows too much about Dale and is using his human weapons to knock him off balance and strike where he’s weakest.

As the pressure builds, Dale works his way closer to the mastermind behind the scheme. And he starts to realize that he isn’t going to like what he finds. To save dozens of innocent lives, Dale will have to risk everything, including his life, and confront the past that he’s been running from for years.

Erik Carter has published seven books in the Dale Conley series as of this writing, with two more due to come out soon. Clearly, he’s doing something right. Stone Groove is the book that launched the series, and it launches it with a bang.

The series is set in the 1970s, and Carter has a blast playing with the era. Dale is a pitch perfect recreation of the rough and tumble heroes of ‘70s movies and TV – the kind who are endlessly getting yelled at by the Captain because they break all the rules but are grudgingly tolerated because they get the job done.

At the same time, Carter digs beneath Dale’s surface bravado to explore the person who could become Dale Conley. What he finds is a vulnerability that will put Dale on the defense against a villain who knows all there is to know about who Dale is, and who he was before.

For much of Stone Groove, the culprit remains a faceless presence who torments Dale by using his human puppets to force Dale into impossible situations. Dale never knows where the next one will come from or what he’ll have to do to prevent more bloodshed. The result is a terrifying ride that keeps Dale one step behind and racing to catch up.

Once the real villain steps out from behind the curtain, things only get worse. By revealing his hero’s dark past, Carter grounds Dale’s over-the-top persona and makes his struggle matter. It raises the stakes for the desperate battle at Stone Groove’s climax and does a great job of pulling the reader into Dale’s character. The result is a book that leaves you hungry for more.

I wasn’t entirely sure about the 1970s setting when I first started reading Stone Groove, but Carter makes it work. The Dale Conley books are action-packed with a light touch. But each also has a touch of historical conspiracy or mystery about it. The result is sort of like Starsky and Hutch with a dash of The DaVinci Code. It’s a concept I was a little surprised to find myself hooked by, but I definitely was. Give it a shot and you might be hooked too.

— MP

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There’s an old joke about two hunters, call them Bob and Ed, who are sitting around their campfire one evening, making dinner and telling stories, when suddenly a bear comes charging out of the forest and tackles Ed. They’re rolling around on the ground, and the bear’s roaring, and Ed’s screaming. Bob shouts “I’m coming, Ed! I’ll save you!”

So he grabs the nearest thing to hand, which is the cast iron skillet they were making dinner in, and he hauls off and swings at the bear’s head. But Ed and the bear are rolling around so much that he accidentally clocks Ed in the face. Now Ed’s screaming louder. “Hold on, Ed!” Bob shouts, and he pulls a big flaming stick out of the campfire and pokes at the bear with it, shouting “Go away!” But again, Ed and the bear are rolling around so much that he ends up jabbing Ed in the side with the burning stick, and Ed yowls in pain again.

Finally, Bob dashes over and grabs his shotgun. “I’ll save you, Ed!” he yells, and he fires. But…you can see where this is going. Ed gets a load of pellets in his backside. But the noise scares the bear, and it drops Ed and lumbers off into the woods. Bob rushes to Ed, who’s a terrible sight, all scraped up with a huge black eye, and his shirt’s still smoking. He’s a mess.

“Ed!” says Bob, trying to help him sit up. “Are you okay, Ed?”

“Damn it, of course I’m not okay,” says Ed. “I got mauled by a bear! And you hit me in the face with a skillet! Then you set my clothes on fire! And if that wasn’t enough, you went and shot me in the ass! What the hell were you doing?”

“I was helping you!” says Bob.

“Well next, time,” Ed says, “help the bear.”

So “help the bear” is something you say when someone’s well-intentioned efforts to help you are having the opposite effect.

I use it quite a bit. It’s a very useful phrase.

Most recently, I’ve been using it with Microsoft. I set up an email address with Microsoft’s Outlook.com recently. And one thing I like to do with a new email account is sign up for my mailing list. (You can do that here, if you haven’t already.) I like to test the links from time to time, and make sure readers are getting the automated sequence of emails that introduces me and my books.

This time, something didn’t look right. The dashboard on my mailing list provider showed my new address and said it had sent the new address three emails, but in Outlook I could only find two. After a great deal of messing around in spam tabs and mucking around in Outlook’s controls, I figured out what had happened. By default, Outlook tries to help you pull out the important emails from the ones it thinks are less important. It puts the ones it deems important in a “focused” tab, and stashes the rest in some mysterious phantom zone called “other.” Two of my emails from myself had shown up in the focused inbox, but the third one for some reason was  deemed unimportant and hidden. And it wasn’t as though opening up the “open” tab revealed it. I had to literally turn off focused inbox, and then all my emails popped into the inbox as they should.

Thanks, Microsoft. Help the bear.

One of the other things my mailing list tells me is what email client my subscribers are using, and the huge majority use Gmail. I don’t think very many of you are on Outlook, but if you are, I’d strongly advise turning off focused inbox. To do that, click the gear icon in the upper right of the window. That’s settings, and one of the items in the pull-down menu is a switch labeled “Focused Inbox.” Just flip that switch, and you’ll be able to find your mail.

As I said, most of you didn’t really need to know this because you’re on Gmail. Separate issues there. So I’m sorry if this doesn’t help you any. But at least you got a joke out of it…

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Well, this joke took a sudden turn, didn’t it?

Life has a way of throwing things in your way, doesn’t it. It’s been taking me a lot longer to write the fifth John Crane novel, The Vengeful, than I would like. There’s been a lot going on in my everyday life, and combine that with the usual plot complications – a whole plotline had to be pulled out and redesigned because it just wasn’t working – and general authorial frustrations, and The Vengeful hasn’t been coming along as rapidly as I want it to.

While the new web site was in development, I didn’t post that, but the frustration was there, so I had the idea for this post on deck and waiting until I had a place to post it. And then there was this photo, of the Isolator. one of a number of weird inventions by Hugo Gernsback, one of the pioneering figures of what we know as science fiction. The Isolater was a kind of primitive sensory deprivation tank aimed at increasing productivity by isolating you from the distractions of day to day life. There’s Gernsback under his heavy hood, looking through his very narrow field of vision at his work, with oxygen getting pumped in, presumably because it would be kind of hard to breathe in there.

If you can’t make out the caption, it reads, “The author at work in his private study aided by the Isolator. Outside noises being eliminated, the worker can concentrate with ease upon the subject at hand.” This thing looks like it would actually drive the user mad after an hour or so, but that was the joke when I came up with the idea – that I needed something this ridiculous to shut out all the distractions of everyday life and get some writing done.

But by the time the site was ready, things in the outside world had changed. Dramatically. The picture has entirely different connotations in a world ravaged by Covid-19, doesn’t it? I hope we don’t get to the point where we all have to do our work in a heavy hood with its own oxygen supply. But as the Mike Tyson quote reminds us, nothing ever goes quite like we planned, from writing a book to just making our way through the world.

I’m still working on The Vengeful. In the meantime, all of you stay safe. I want you to be healthy and ready to read it when it’s done.

The post Everybody has a plan until they get punched in the mouth. appeared first on Mark Parragh.

Well, this joke took a sudden turn, didn’t it?

Life has a way of throwing things in your way, doesn’t it. It’s been taking me a lot longer to write the fifth John Crane novel, The Vengeful, than I would like. There’s been a lot going on in my everyday life, and combine that with the usual plot complications – a whole plotline had to be pulled out and redesigned because it just wasn’t working – and general authorial frustrations, and The Vengeful hasn’t been coming along as rapidly as I want it to.

While the new web site was in development, I didn’t post that, but the frustration was there, so I had the idea for this post on deck and waiting until I had a place to post it. And then there was this photo, of the Isolator. one of a number of weird inventions by Hugo Gernsback, one of the pioneering figures of what we know as science fiction. The Isolater was a kind of primitive sensory deprivation tank aimed at increasing productivity by isolating you from the distractions of day to day life. There’s Gernsback under his heavy hood, looking through his very narrow field of vision at his work, with oxygen getting pumped in, presumably because it would be kind of hard to breathe in there.

If you can’t make out the caption, it reads, “The author at work in his private study aided by the Isolator. Outside noises being eliminated, the worker can concentrate with ease upon the subject at hand.” This thing looks like it would actually drive the user mad after an hour or so, but that was the joke when I came up with the idea – that I needed something this ridiculous to shut out all the distractions of everyday life and get some writing done.

But by the time the site was ready, things in the outside world had changed. Dramatically. The picture has entirely different connotations in a world ravaged by Covid-19, doesn’t it? I hope we don’t get to the point where we all have to do our work in a heavy hood with its own oxygen supply. But as the Mike Tyson quote reminds us, nothing ever goes quite like we planned, from writing a book to just making our way through the world.

I’m still working on The Vengeful. In the meantime, all of you stay safe. I want you to be healthy and ready to read it when it’s done.

The post “Everybody has a plan until they get punched in the mouth.” – Mike Tyson appeared first on Mark Parragh.

So I got a new web site! This is it. It’s brand new – still has that new web site smell! That also means there are a lot of unpacked boxes lying around and some empty rooms. But it’s here and it’s live.

I’ve had some ideas for material that I’ve been saving while work proceeded on the new site, so look out for new things coming soon.

Thanks to the folks at Authorbytes.com for the site design, and various other things that now should work a lot better then they did when this was just something I kludged together myself.

So enjoy the new site, and as I said, look out for new stuff to come!

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